Dr. Öğr. Üyesi MUZAFFER ZAFER AYAR
Tez Türü: Doktora
Tezin Yürütüldüğü Kurum: Karabük Üniversitesi, Lisansüstü Eğitim Enstitüsü, İngiliz Dili ve Edebiyatı, Türkiye
Tez Danışmanı: Prof. Dr. A. Serdar Öztürk
Tezin Onay Tarihi: 2021
Tezin Dili: İngilizce
Desteklendiği Program: Diğer
Özet:
It has
always been difficult to give a new pace to culture and cultural identity for
those leaving the lands they were born in. Although culture and cultural values
along with cultural identity are dynamic facts, there is generally an
instinctual demand for the original culture. When the Third World countries
were exposed to colonial oppression, they went through a long process of
cultural transformation. Many colonized countries came face to face with new
cultural dictations imposed on them by the colonizing ideology. Although the
situation varies from generation to generation, subjugated citizens, enslaved
indentured workers, and displaced elites always longed for their authentic
culture and cultural identities. This transformation, of course, did not take
place overnight. Indeed, it was a centuries-long process for the colonizer
countries to implement such debilitating measure in the cultural, political,
and social sense. Therefore, it is not an issue for the Third World subjects to
work to reverse the situation in their own favor. As of the mid-20th
century when the decolonization gained a fast momentum, many critics,
especially those directly linked to subjugated cultures, dealt with the issue
of cultural values. One of the forerunner critic of this trend was Homi Bhabha
whose criticism in the cultural sense is still accepted in the literary
circles. If it is the topic related to ‘cultural identity’ it is unavoidable to
associate Bhabha’s The Location of
Culture with that of other world-famous critics such as Edward Said, Stuart
Hall, Gayatri Spivak and many others. In other words, he has always been in
interaction with all the other postcolonial critics of the postcolonial period.
In tandem with the question of cultural identity, this dissertation intends to
tackle this issue from the perspective of Bhabha’s a number of critical terms
such as “hybridity,” “mimicry,” “ambivalence,” “unhomeliness,” “third space,”
and so on and so forth. All the aforementioned critical terms will be applied
to V. S. Naipaul’s Miguel Street, Half a Life and Magic Seeds with a motivation to clarify the condition of
postcolonial cultural identity in postcolonial era.
Keywords: cultural
identity, decolonization, hybridity, unhomeliness, mimicry, third space